Comparison of Remember and Sonnet
Many parallels can be drawn between 'Remember' by Christina Rossetti
and 'Sonnet' by Elizabeth Barrett Browning, however at the same time
there are distinct contrasts apparent.
The title 'Sonnet' -or often commonly known as 'How do I love thee'-
obviously introduces the piece in sonnet form. A sonnet is a
fourteen-line poem in iambic pentameter with a carefully patterned
rhyme scheme. The Italian or Petrarchan sonnet, named after Francesco
Petrarch, an Italian poet from the thirteenth century was introduced
into English poetry in the early sixteenth century and has been widely
used ever since. Its fourteen lines break into an octet and a sestet,
differing from the convention of the English Shakespearean sonnet,
developed in the early sixteenth century by Henry Howard that consists
of three quatrains and a rhyming couplet to conclude. Traditionally,
both types of sonnet were usually written by men addressing their
lovers in order to express deep emotion or appreciation through
poetry. However, often they were used to persuade or construct an
argument. Here, both poems share in that they are both written in
Petrachan sonnet form. 'Remember' is a Petrachan sonnet except for the
last two lines as it conventionally has an octet to begin, followed by
a sestet. It has a Volta expressing a change of thought at the
beginning of the sestet 'Yet if you should..', which is often the case
in Petrachan sonnets allowing the writer to project and develop a
subject in the first eight lines and then to release the tension that
is built up by executing this form of turn within the poem. The piece
remains loyal to convention as the writer puts forth some form of
argument as she describes...
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...ce. I can sense the fervour in
which the poem has been written alongside great sincerity and passion.
I love the way in which simple words echo when the piece is read aloud
and the 'passion' of line nine shines rapturously throughout. The many
forms of imagery within the poem bring it to life, demonstrating what
emotional poetry really means. The conventional Petrachan sonnet form
in which it is written has full potential power to create an intense
outburst of emotion. Here, the reader is captured completely by the
effortless beauty formed by the love described within the poem.
'Remember' and 'Sonnet' both appear from the outside to be similar in
structure, theme and texture however the depths discovered when the
reader takes a closer look reveal strong differences that clearly
distinguish Elizabeth Barrett Browning's poem from Christina's
Rossetti's.
The use of language manipulation and the way in which the composer presents his speech are all effective ways an authorial voice may get their message across.
The Voices give poetry to the play by giving the listener Thomas’s view of the town. The two voices are Thomas’s opportunity to act as a guide to Llareggub. He uses the Voices throughout the play, the first Voice starts and ends the play, the characters seem to interact with the voices, and for example the characters often finish off lines that the voices started. One example of this is in the introduction of Mr Pugh, the retired school teacher.
Compare William Shakespeare’s Sonnets 12 and 73 William Shakespeare (1564-1616) wrote a group of 154 sonnets between 1592 and 1597, which were compiled and published under the title 'Shakespeare's Sonnets' in 1609. The 154 poems are divided into two groups, a larger set, consisting of sonnets 1-126 which are addressed by the poet to a dear young man, the smaller group of sonnets 127-154 address another persona, a 'dark lady'. The larger set of sonnets display a deliberate sequence, a sonnet cycle akin to that used a decade earlier by the English poet Phillip Sidney (1554-1586) in 'Astrophel and Stella'. The themes of love and infidelity are dominant in both sets of poems, in the larger grouping; these themes are interwoven with symbols of beauty, immortality, and the ravages of time. Lyrical speculations of poetry's power to maintain bonds of love and to revere the beloved can also be found in the larger collection of sonnets.
Onomatopoeia: “I could hear my heart thudding. I wondered if August could hear it over there across the room. Boom-boom. Boom-boom” (Kidd 272). When August tells Lily that she finds a box
The poem, “Remember”, by Joy Harjo illuminates the significance of different aspects in one’s life towards creating one’s own identity. Harjo, explains how everything in the world is connected in some way. She conveys how every person is different and has their own identities. However, she also portrays the similarities among people and how common characteristics of the world impact humans and their identities. Harjo describes the interconnectedness of different aspects of nature and one’s life in order to convey their significance in creating one’s identity.
Sound Devices help convey the poet’s message by appealing to the reader’s ears and dr...
Love and Hate are powerful emotions that influence and control how we interact with people. To express this influence and control and the emotions associated with love and hate, for instance, joy, admiration, anger, despair, jealousy, and disgust, author's craft their writing with literary elements such as as structure, figurative language, imagery, diction, symbolism, and tone. Poems in which these can be seen present are “My Papa’s Waltz” by Theodore Roethke, “My Last Duchess” by Robert Browning, and “Sonnet 130” by William Shakespeare. Within “My Papa’s Waltz” a mighty love is seen between the father and son. To express this Roethke uses figurative language, symbolism and diction. Within “My Last Duchess” there is little love, but an ample hate towards the duchess from the Duch. To express this the
The body-soul dichotomy was a fairly common theme that was debated literarily from the middle ages to the Elizabethan period. Unbeknownst to many people William Shakespeare on multiple occasions referenced it. Of the literary works he composed, sonnet 146 is one of the most pronounced in its own right while being debated on multiple levels. It has such been correlated with others of his prior written sonnets and plays, sung as a hymn, recited at funerals, and compared against many pages and passages of the bible spanning from Genesis to Revelations but most likely viewed in terms of the Anglican Church. The Shakespeare Quarterly is a well-known journal that centers on all things Shakespearian. In 1976, Michael West, a writer and professor at the University of Pittsburg, went into great detail on this topic discussing Francis Davison’s Poetical Rhapsody “Tarquins in Lucrece” and Barbabe Googe’s translation of Paligenius’s “Zodiacus Vitae” all as a backdrop to solidify this argument that Shakespeare was a Christian writing on this subject (West, 111-116). During this essay, West went in belief was that sonnet 146, to be read correctly, must be viewed more from a Christian standpoint. His basis for this is that Shakespeare held that there is an ongoing conflict for which the body is attempting to subject the soul. Upon death though, the soul is victorious because, even though it goes without saying, the worms eat the body and loose the soul to be free (116).
This is an enjoyable sonnet that uses nature imagery, found extensively in Petrarca, that Shakespeare uses to get his point across. Not much explication is needed, aside the sustained images of nature, to fully understand its intent, but I would like to point out a peculiar allusion. When reading line 3, "the violet past prime" has made me think of Venus and Adonis. In the end, Adonis melts into the earth and a violet sprouts where his body was, which Venus then places in her heart, signifying the love she has for him. Reading this into the poem makes the few following lines more significant. Having Adonis portrayed as the handsome youth, Shakespeare is alluding to the death of youth (in general and to the young man) through the sonnet. In the next line, it is not certain if "sable" is an adjective or a noun and if "curls" is a noun, referring to hair (which is plausible) or a verb modifying "sable." Invoking the allusion to Adonis here, Shakespeare portends that if Adonis did live longer, he too would have greying hair; thus, Shakespeare sees ["behold"] an Adonis figure, the young man, past his youth.
A strong relationship between the music and the text can be seen throughout the melodic line, particularly in measures 22-23; 26; 32-33; and 36 as the soloist sings the word “ah!” This word is particularly emotive and in fact does not even act as a word, but rather something closer to a sigh. The music reflects this by placing multiple notes on one syllable, stretching it melismatically to mimic the drawn-out and lethargic nature of sighing. Additionally, each instance of “ah!” involves an arching line within the melody (this is particularly evident in measures 26 and 36), which further solidifies the resemblance to sighing (an act that involves a “swell” of breath). The idea of sighing occurs in many instances throughout this piece, even acting outside of the melodic line. The string accompaniment contains occasional slurs, and these slurs usually occur on a strong beat moving to a weak beat (e.g. see both violin parts in measure 9). This adds to the...
Then he says that sometimes the sun is too hot and is hidden by clouds
Shakespeare and Petrarch, two poets popular for their contributions on the issue of love, both tackle the subject of their work through sonnet, yet there are key contrasts in their style, structure, and in the way, each approaches their subjects. Moreover, it is clear that in "Sonnet 130," Shakespeare in fact parodies Petrarch's style and thoughts as his storyteller describes his mistress, whose "eyes are in no way as the sun" (Shakespeare 1918). Shakespeare seems, by all accounts, to mock the exaggerated descriptions expanded throughout Petrarch’s piece by giving an English poem portraying the speaker’s love in terms that are characteristic of a flawed woman not a goddess. On the other hand, Petrarch's work is full of symbolism. In reviewing "Sonnet 292" from the Canzoniere, through “Introduction to Literature and Arts,” Petrarch’s utilization of resemblance and the romanticizing of Petrarch's female subject are normal for the Petrarchan work. The leading major contrast between the two poems is the piece structure utilized (McLaughlin).
Sonnet 18 and Sonnet 130, by William Shakespeare, are two of the most well known Shakespeare sonnets. Both are similar in theme, however, the two poems are very much contradictory in style, purpose, and the muse to who Shakespeare is writing.
Though ballads and Sonnets are poems that can depict a picture of someone’s beloved, they can have many differences. For instance, a Ballad is a story in short stanzas such as a song would have, where as a sonnet typical, has a traditional structure of 14 lines employing several rhyme schemes and adheres to a tight thematic organization. Both Robert Burn’s ballad “The Red, Red, Rose, and William Shakespeare’s “of the Sonnet 130 “they express their significant other differently. However, “The Red, Red, Rose depicts the Falling in new love through that of a young man’s eyes, and Shakespeare’s sonnet 130 depicts a more realistic picture of the mistress he writes about; which leaves the reader to wonder if beauty is really in the eyes of the beholder.